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The Burial Theme in Moche Iconography
The Burial Theme in Moche Iconography
C H R I S T O P H E R B . DONNAN
D O N N A M CC L E L L A N D
Dumbarton Oaks
ACKNOWLEDGMENTS
We would like to express our appreciation to the
following individuals who contributed to this research: Yoshitaro Amano, Lawrence Dawson, Guillermo Ganoza, Alan Lapiner, Diane Latham, Herbert
Lucas, Luis Lumbreras, Donald McClelland, Dorothy
Menzel, Oscar Rodrguez, John Rowe, and Alan
Sawyer.
Activities
2 The scene in Figure 17 is remarkably similar to one published by Lavalle (1970: Pl. 78a), from a bottle in the Dumbarton Oaks Collection, Washington, D.C.
3 Many Moche graves containing llama remains have been
excavated, indicating that the Moche people placed parts of
llamas in graves as part of the burial goods.
found in Moche graves. The casket of the Warrioridentify from the fineline drawings. The object to the
left of the casket in Figure 2 may be an elaborately
Priest measured 2.35 meters long, .57 meters wide,
and .35 meters high, and had a lid which was tied
woven textile, while the object to the right may be a
shut with cordage (ibid.: 153). Its rigid structure of necklace or collar of beads. Particularly puzzling are
reinforced heavy canes would not have bowed when
the oblong objects, with lines across their width, in
it was lowered with ropes into the grave, even with
rows above the right side of the coffin in Figures 7 and
the human body inside. The casket was wrapped with 11. Nothing of a similar form has yet been reported
twilled cloth, which covered the cane. This may ex- from a Moche burial. However, other Moche V vesplain why the artists did not show the cane in draw- sels illustrate similar objects; figures wearing a net
ing the caskets.
shirt and seated in tule boats (Figs. 2325, 27, 28) are
frequently shown with these oblong objects on their
The faces shown on the caskets in Figures 2 , 6, 7,
and 10 may well be hammered metal masks. Such
torsos (Figs. 24, 25).
masks were made of copper and gold by Moche
ASSEMBLY
craftsmen (Fig. 20). If the faces on these caskets are
metal masks, it would appear that they are somehow
A second activity shown on each of the five bottles
attached to the outside of the casket. They would
in our sample is what might best be termed assembly
probably have been attached to the lid or upper sur(Fig. 14). It is divided in the middle by the ropes that
face; however, the artists may have rotated the casket lower the casket. The assembly activity involves a
90 to make the mask visible.4
grouping of human, animal, and anthropomorphized
The grave goods depicted on the Burial Theme
figures. The primary figures, judging from their large
vessels are nearly all items frequently found in Moche
size, are Iguana and Wrinkle Face. Each is shown
graves. Ceramic vesselsstirrup-spout bottles, jars,
holding a stafflike objectpossibly a rattle. Figure 29
and pedestal-base bowlsare particularly common.
is a modeled representation of Iguana holding a simiThe shallow bowls filled with food are less common.
lar staff. An anthropomorphized feline in Figure 10
They are made of gourd, and would tend to decomand a human figure in Figure 11 have been substituted
pose through time. However, gourd bowls filled with
for Wrinkle Face, apparently without changing the
corn and beans have been reported from one of the
nature of the activity.
better-preserved Moche graves (Strong and Evans
In horizontal bands above Iguana and Wrinkle
1952: 153). The shallow gourd bowls shown in the
Face are various smaller figures holding long vertical
drawings generally appear to be stacked in pairs. This
staffs in front of them. Each faces the center of the
was apparently the way gourd bowls were presented
scene.5 On one side are human figures, all of whom
in ceremonial contexts, with the stacked gourds usually tied together on one side (Figs. 2122). Conch
5 Dorothy Menzel (personal communication) has sugshells are included among the grave goods in Figures
gested that the assembly section may reflect Huari influence.
2, 3, and 6. Although there are no reports of conch
She has stated that it . . . is remarkably similar to a typical
shells actually having been found in Moche graves,
Huari arrangement (and also Tiahuanaco). On Huari (i.e.,
Conchopata-style) offering urns of Middle Horizon 1A figthey might have been placed in the graves of some
ures I refer to as Angel figures, that is, the Feline-headed
high-status individuals.
Angel, are shown running toward a central deity figure, in a
Several of the other grave goods are difficult to
row, each figure carrying a staff in front and shown in profile,
each appearing to form a small panel, as in your assembly
scene.
Of course, the Middle Horizon 2 example from
Tiahuanaco, the so-called Gateway of the Sun lintel, is also
4 Turning an object 90 so that it is more recognizable is a
a good example. There the figures appear in three rows, just
common feature of Moche fineline drawing (see Donnan
as in your design, mythical humans and mythical bird figures
1976: 24).
in alternating rows.
7
are dressed in long, netlike shirts and wear headdresses apparently made of clipped feathers projecting
up from a headband. Each of these figures wears a
tiered item of attire extending down his back. We
will refer to these figures as Net Shirts.
The representation of groups of Net Shirts standing
together in the same scene indicates that they are a
group of people who wear similar garments and perform the same roles. It is interesting that Net Shirts
are not depicted in Moche art until Phase V. During
that phase they are found in only two contexts: in the
Burial Theme and in tule boats. Almost every Moche
V representation of a tule boat, whether realistic
(Figs. 23, 2628) or stylized (Figs. 24, 25) has a Net
Shirt inside it (Cordy-Collins 1977, n.d.). As mentioned above, some of the most enigmatic of the burial goods shown around the coffins in the burial activity are the oblong objects with lines across their
widths. It is curious that the only representation of
similar objects in Moche art are on the torsos of Net
Shirts seated in the tule boats (Figs. 24, 25). Moreover, the jars above the right side of the casket in Figure 10 are remarkably similar to those shown in tule
boats (Figs. 26, 28). Possibly both the oblong objects
and the jars shown adjacent to the casket in the Burial
Theme (Figs. 7, 10, 11) were brought to the grave
site by the Net Shirts who are shown standing to one
side in the assembly activity.
Opposite the Net Shirts in the assembly are animal
figures. These are depicted either as natural animals or
as part animal and part human, apparently depending
on the choice of the artist. It is interesting that, of all
the animals depicted in Moche art, only felines and
male deer are found in this context. All of the figures
in the assembly seem to be engaged in a ritual at the
grave site which is performed as part of the burial
ceremony.
CONCHSHELL TRANSFER
The structure is approached by a set of stairs, suggesting that it is located on the upper part of a high platform or pyramid.
Inside the structure is a major figure that we shall
refer to as Kneeler, because of his posture. The appearance of Kneeler can vary much more than that of
Wrinkle Face or Iguana. The only element that he
wears on all six vessels is the crescent-shaped ornament in his headdress. By itself, the crescent-shaped
ornament does not constitute a means of identifying
Kneeler outside of the Burial Theme vessels, since it is
worn by many different Moche figures. Kneeler also
wears a tiered item of attire which extends down his
back and is similar to that worn by the Net Shirts.
The tiered item of attire is replaced by a wing in Figures 5 and 6, but, since the wing is also tiered, it may
be a substitute for the tiered item on the other vessels.
The most distinctive aspect of Kneeler is his posture. A kneeling posture is rarely found in Moche art.
Inside tule boats, however, figures holding paddles
are frequently shown kneeling (Figs. 2628).6
In the Burial Theme, Kneeler is consistently shown
reaching forward with one hand, which often holds a
conch shell. Facing him on the stairway below are
Wrinkle Face and Iguana (Figs. 14), Iguana and a
Net Shirt (Figs. 58), or a Net Shirt (Figs. 9, 10). It is
not clear whether Kneeler is giving the conch shells
or receiving them.
In one example, Iguana wears conch shells in his
headdress (Figs. 1, 2) and, in two examples (Figs. 1
4), Iguana stands in front of llamas that have backpacks filled with conch shells. One Phase V stirrupspout bottle (Figs. 31, 32) depicts this activity in modeled formIguana wears a conch shell on top of his
bird headdress while leading a llama with a rope. The
llama carries rope saddlebags filled with conch shells,
and Wrinkle Face lies on top holding a spearthrower
in one hand and two spears in the other.
One representation of the conch-shell transfer (Figs.
5, 6) is unique because a Net Shirt and a small gabled
6 When a kneeling paddler is shown in a tule boat on one
side of a bottle, a Net Shirt is usually shown in a tule boat on
the opposite side of the bottle.
SACRIFICE
The fourth activity shown on each of the five bottles in our sample involves sacrifice (Fig. 15). It is
always located in the area above the conch-shell transfer activity. Although most of this scene has spalled
off of one bottle (Figs. 3, 4), and there is limited documentation of it on another (Figs. 11, 12), Iguana and
Wrinkle Face can be easily recognized. Iguana holds
a tumi knife in one hand, and may hold a rope of
birds in the other. Wrinkle Face stands nearby, holding a spearthrower and several spears. On the far left
is a splayed, nude female, lying on her back, being
attacked by birds. On the far right is a group of birds
tied together with rope. These are the same type of
birds seen pecking at the nude female figure. In at
least four of the examples (Figs. 24, 7l0), the rope
of birds is held by an anthropomorphized spear.
Another feature found in the sacrifice activity is a
bird on a rack (Figs. 2, 510). Again, the bird is similar to those pecking at the nude female figure. In
Moche art, there are a number of representations of
individuals tied to racks (Fig. 30). Frequently they
are being pecked by birds. Ethnohistoric sources indicate that this was a form of punishment used by people living on the north coast of Peru prior to European contact.7
The six vessels in our sample show the wide range of
variation used by Moche artists in reproducing a fineline drawing of the same theme. Although each of the
six vessels is divided into the same four scenes, many
7 Father Antonio de la Calancha states that the native people of the north coast of Peru were preoccupied with stealing
and that the punishment of thieves was a religious as well as a
civil matter, as if property ownership were a divine right.
Diviners were consulted and sacrifices were made to the
Moon and to the constellation of Pat (our constellation
Orion) to entreat their aid in finding thieves. When the moon
was dark, they said that it was in the other world, punishing
thieves. In the constellation of Pat (Orion), the row of three
stars (Orions Belt) was seen as a thief flanked by emissaries of
the moon who were sent to feed him to the buzzards. The
latter were represented by the four stars immediately below
Orions Belt (Calancha 1638: Book III, 553).
elements vary from vessel to vessel. There are omissions and substitutions of both major figures and
minor elements, such as background objects.
A comparison of the detailssuch as the hands of
the same figureon the vessels in Figures 912 suggests that they were created by the same artist. These
two vessels provide an unusual opportunity to examine the range of variation on a single theme by an
individual artist. The two vessels vary in many details. For example, the artist placed jars in the grave
on the vessel depicted in Figure 10, whereas he drew
the oblong objects instead of jars on that in Figures 11
and 12. In Figures 10 and 11, in the assembly activity,
he replaced Wrinkle Face with another figure. He
drew an anthropomorphized feline on the vessel in
Figure 10 and a Net Shirt on the one in Figure 11. In
the conch-shell transfer activity, the area beneath
Kneeler provides another interesting variation. The
artist drew small structures in this area on the pot depicted in Figure 11, structures similar to those depicted in Figures 18. On the vessel in Figures 9 and
10, however, he filled the area with geometric designs and created a stepped dais similar to those in
Figures 3335. The range of variation between these
two vessels, and among all six vessels, would indicate
that the Moche artists were not slavishly reproducing
a fineline drawing of the Burial Theme, but were
enjoying a degree of artistic freedom.
Chronology
Although all six bottles with depictions of the Burial
Theme belong to Phase V of the Moche style, only
two appear to have been made by the same artist
(Figs. 912). It is quite possible that the five artists
were not contemporaneous, and that the bottles were
made at different times. A chronological sequence for
the six bottles can be suggested, based on the style of
painting and the features of the vessel forms. The vessels, as shown in Figures 112, are arranged in that sequence. The vessels in Figures 14 are probably the
earliest, since the style of the fineline drawing is most
similar to that of Phase IV. This is particularly evident
10
Interpretation
It is clear that the Burial Theme consists of at least
four distinct activities: burial, assembly, conch-shell
transfer, and sacrifice. The artists who painted the
bottles consistently used parallel lines to separate these
four activities. Moreover, since Iguana and Wrinkle
Face are specific individuals, their presence in each of
the four activities indicates that the activities are sep-
ADDENDUM
14
With regard to chronological placement, this bottle would clearly be late in our sequence, and appears
to fit between the bottle shown in Figures 7 and 8
and that shown in Figures 9 and l0. Such a placement
is based largely on the inventory of grave goods, the
manner of representing the body and headdress of
Kneeler, and the scroll motif that decorates the ring
base on this bottle.
Fig. 1 Stirrup-spout bottle. Private collection, Trujillo. Photo courtesy of the Solomon R. Guggenheim Museum, New York.
Fig. 2
Fig. 3
Fig . 4
18
Fig. 5 Stirrup-spout bottle. Photo courtesy of the Museum of Art, Rhode Island School of Design, Providence.
Fig. 7
Fig. 8 Stirrup-spout bottle. Collection of Herbert Lucas, Brentwood, California. Photo by S. Einstein.
22
Fig. 9 Stirrup-spout bottle. Collection of Oscar Rodrguez Razzeto, Chepn Per Photo by C. Donnan
23
Fig. 11
Fig. 12 Stirrup-spout bottle. Private collection, Lima. Photo courtesy of the Muse de lHomme, Paris.
26
27
Fig. 16
34
Fig. 23 (opposite, above, left) Detail from vessel (after Kutscher 1950:
Fig. 69).
Fig. 24 (opposite, above, right) Stirrup-spout bottle. Museo de Amrica,
Madrid. Photo by C. Donnan.
Fig. 25 (opposite, below, right) Stirrup-spout bottle. Museo de
Arqueologa, Universidad Nacional de Trujillo, Trujillo.
Photo by C. Donnan.
Fig. 26 (opposite, below, left) Stirrup-spout bottle. Museo de Amrica,
Madrid. Photo by C. Donnan.
Fig. 27 (right) Stirrup-spout bottle. Drawing by D. McClelland
(after della Santa n.d.: front cover).
Fig. 28 (below) Roll-out of bottle in Figure 26. Drawing by
A. Cordy-Collins.
38
Fig. 38 (above) Stirrup-spout bottle. Private collection, Chiclayo, Per. Photo by C. Donnan.
Fig. 39 (below) Roll-out of bottle in Figure 38. Drawing by D. McClelland.
40
Fig 40 Stirrup-spout bottle. Collection of Herbert Lucas, Brentwood, California. Photo by R. Woolard.
41
42
43
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